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Call for Music


The International Computer Music Conference (ICMC) 2015 invites submissions of musical works for presentation at the Conference. Non-ICMA members can submit one work for consideration while ICMA members may submit two compositions. Only one work per composer will be programmed. Please assign each composition to one of the following categories:

  • solo instrument + electronics
  • ensemble (2-10 musicians) + electronics
  • laptop improvisation and live coding
  • video and music
  • acousmatic music
  • new interfaces for musical expression
  • inter-media performance
  • piece + paper (including computer-aided acoustic composition)
  • networked performance
  • installation
  • club electro (jazz/pop/dj/idm influenced electronic music)
  • miscellaneous
  • Special Category for large ensembles + electronics (limited number of performances per ensemble)
    • Chamber Choir 16-voice SATB + electronics
    • Trombone Choir + electronics
    • Jazz Ensemble + electronics
    • String Orchestra (4/4/3/2/1) + electronics
    • Wind Ensemble + electronics

Important Dates

  • Submissions open: January 11th, 2015
  • Deadline for submission of works: February 8th, 2015 23:59 (UTC -6)
  • Extended deadline for music submissions: February 15th, 2015 23:59 (UTC -6)
  • Acceptance notification: April 19th, 2015 (The adjudication process has been completed. Due to the extended deadline, acceptance announcements will be made a week later on April 27.)
  • Final deadlines for all performance material: May 10th, 2015
  • Composer registration deadline: June 30st, 2015


Qualifications (all categories)

  • This call is open to all composers regardless of nationality, age, or career stage.
  • Non-ICMA members can submit one work for consideration.
  • ICMA members may submit up to two works for consideration.
    • After the submission of musical works, the conference organizer will be in contact to collect ICMA membership details.
  • Submissions must be sent electronically only through the Conference Management System (Please do not send Submissions directly by e-mail). This link will be accessible from 11th January 2015.
  • Artists will be notified of the results by email. Results will also be posted in our Program section.

Music Selection Process

All submissions will be subject to blind review by an international panel of specialists in the given category of submission, with access to all submitted materials online. Final deadlines for media and any other performance material as applicable (including scores and parts) must be met if a piece is to be programmed, in order to facilitate rehearsals and technical organization for the concerts.

Different venues throughout the conference will have different technical capabilities (more information can be found at Venues), and the concerts will be curated under each submission category (post-jury) to ensure the most appropriate venue for each work. Fixed media works not selected for concert presentation may be programmed in one of the listening rooms. Please indicate on the submission form if you do not wish to be considered for this option.

Selected artists who want to have their pieces presented at the conference must register for the conference by June 14th. Attendance by the composer is highly encouraged but not absolutely required for the performance to happen. However, the performance may be canceled if any of the following occur:

  • The music and necessary performance materials (parts, software, …) are not submitted by May 10th;
  • associated software does not function properly; or,
  • the performance materials are not sufficiently complete to allow the piece to be properly rehearsed and performed; or,
  • registration is not complete by May 31st, 2015.

Final dress rehearsals / sound checks will be scheduled on the day of the concert.

Pieces will automatically be entered into the two music-related competitions: the ICMA Regional Composition Award and the ICMA Best Student Composition Award. They will also be considered for publishing on the Music Selection of the conference DVD. Please opt out of this option on the submission form if you would prefer your piece not to compete.

More information about the conference can be found on the website. Any questions regarding the call for musical works can be addressed directly to the music chair.

Submission Materials (all categories)

All works will be submitted only on-line through the Specific Management System. Artists submitting works should create and submit stereo MP3-formatted audio files or MP4-formatted video files of their pieces; in order to facilitate blind jury review, we ask that artists not include title slides or ID3 tags on their media. Technical specifications for performance and performer scores should be submitted as well, in PDF format, and must be anonymous. A list of available equipment can be found at Venues webpage. If any additional equipment is required, proposals should specify what can be provided by the artist/composer and what the conference is expected to provide. Installation proposals must include a spatial/physical diagram.

Submissions must include:

  • Title of work
  • Instrumentation
  • Year
  • Duration
  • Category
  • Keywords
  • Contact information
  • Program Notes/ Project Description (500 words maximum)
  • Biography (200 words maximum)
  • Stereo MP3-formatted audio files or MP4-formatted video files
  • Performers required (please state if you intend to bring your own)
  • Performance scores, in PDF (if applicable, even if the performer is provided) (please note this component must be blind, i.e.: no author information must be contained within the PDF)
  • Technical specifications (please see the OpenConf music Submission Form)
  • Spatial diagram for installation and multichannel music submission.
  • Ensemble parts (due by May 10th, 2015)

Fixed media works not selected for concert presentation may be programmed in one of the listening rooms. Please indicate on the submission form if you do not wish to be considered for this option.

Available ensembles and performers available to perform works at the conference

Available musicians/acoustic instruments provided by the organizers:

  • flute (piccolo, alto, bass)
  • recorder (SATB)
  • oboe
  • clarinet (bass)
  • bassoon
  • saxophone (SATB)
  • horn
  • trumpet
  • trombone
  • tuba
  • timpani
  • percussion (1-4 performers)
  • classical guitar
  • electric guitar and bass
  • harp
  • piano
  • harpsichord
  • voice (SATB)
  • violin
  • viola
  • cello
  • double bass

Detailed Description of Categories

solo instrument + electronics

The music falling under this category is for soloist and electronics. The instrumental part must be for acoustic instruments of any tradition (or electric guitar, electric violin etc.). In the unlikely eventuality that the organizers cannot provide a professional performer on a given instrument, arrangements may be made with the composer to provide one. Composers may also propose to provide their own performer, though the financial resources connected to that cannot be provided by the organizers. The electronic part can range from fixed media background part to real-time rendering of processing. It can also be performed in real-time by the composer.

ensemble + electronics

This category includes music written for ensembles from 2 to 10 musicians, with the addition of an electronic part: from fixed media to real-time rendering, and/ or a combination of both. The organizers have access to an extensive list of first-class performers on most Western orchestral and popular and traditional instruments, and the music will be judged solely on its artistic merit. Composers may also propose to provide their own performers, though funding cannot be guaranteed and this must be negotiated with the chair on selection. Every effort will be made to stage selected pieces but for practical reasons a performance cannot be guaranteed on initial notification.

laptop improvisation and live coding

This category is for laptop(s) performance, where the laptop(s) is/are the center of the stage: live coding, just-in-time-composition, ASCII keyboard beating, these pieces should have a laptop performer defending this technology as a musical instrument. The use of projection (for the code) and conventional external controllers (faders, keyboards, pedals) is allowed. Video documentation of past works should be included where possible, or otherwise descriptions should be sufficiently detailed to allow review of both esthetic and conceptual aspects of the proposal.

new interfaces for musical expression

The works in this category must showcase new interfaces in action! New interfaces addressing the concerns of concert presence, virtuosity and interface transparency/expressivity should be showcased to the highest level. New ways of using old interfaces (i.e. highly augmented instruments) are also welcome. Including a video of the performance with the submission is highly recommended.

inter-media performance

This category is for works that include electronics and other elements: for instance, a piece with new interface, laptop, performer and interactive live video. At least two kinds of media must be present for the ‘multi’ aspect of the call to be respected, which may include: robots and automatons, video, live performance, fixed media, video projections, still projections, automated lights, etc.

video and music

This category is for works with pre-prepared video and music. The video part can be any kind (animation, video art, documentary, fiction), must be single-screen, and can be high-definition (full HD projector available) or standard definition. The audio part can be up to 16 channels plus subs.

dance and music

In this category, music is combined with dance performance. Composers have to declare if they provide their own dancer(s), though funding cannot be guaranteed and this must be negotiated with the chair on selection. In this category, please submit a video with dance if possible.

acousmatic and spatial music

This category is for music where there is nothing on stage but loudspeakers! Music can be stereo and projected on an orchestra of loudspeakers, or can be from multi-channel sources: a system of at least 24 discrete loudspeakers (including subs) will be provided, with the loudspeaker layout available in advance. The composer has to declare if the spatialization of sound should be performed real-time by him or third person. In the second case, spatialization instructions are encouraged. In case of multi-channel in the submission for the selection you have to submit only a reduced stereo MP3 file.

piece + paper (including computer-aided acoustic composition)

This category allows a concert performance of any musical work accompanied by a paper presentation that details a key aspect of the work. Particularly welcome are purely acoustic pieces in which the computer plays a significant compositional role (e.g algorithmic composition). The composer should describe the role of the computer in the composition. Musical examples can be demonstrated in real-time during the presentation by the performer(s), and then the piece will be performed entirely. Works for 10 or fewer performers, and of 10 minutes or less, are strongly encouraged. The paper part must be submitted through the Paper Management System.

networked performance

Pieces that are using real-time interaction over a computer network (locally or through internet) that enables musicians in different locations to perform as if they were in the same room.


Audio installations using up to 8.1 audio systems, pre-recorded or real-time generated, plus video or lights, with or without interaction at the available spaces:

  • UNT on the Square
  • College of Music Commons
  • Students Union
  • CEMI Studios (MU2011, 209, 2008)
  • HAL lab

club electro (jazz/pop/dj/idm influenced electronic music)

This category allows for submission of music that explores hybrid forms, not necessarily in terms of appropriate venue, but from an esthetic stance. DJ set, jam band, songwriters, jazz soloist with a machine counterpart, etc: as long as the electronic part is significant and relevant, works in this category are welcome.


If a work does not fit in any of the previous categories (e.g. Game Audio, jingles), please submit it here. The music chair can re-assign a piece in one of the previous categories at their discretion.




Call for Papers

The Center for Experimental Music and Intermedia (CEMI), the Division of Composition Studies in the College of Music at the University of North Texas will host the International Computer Music Conference (ICMC) in Denton (Texas, USA) from September 25th to October 1st 2015. We encourage the submission of papers, posters, and demonstrations examining any topic related to computer music and digital audio, including aesthetic, compositional, educational, musicological, perceptual, scientific and technical aspects.

Paper Topics

The theme of the conference, “Looking Back, Looking Forward” invites participants to reflect on the innovations, developments and artistic challenges over the past century, and to articulate a vision for the future. Have the major challenges faced in computer music and research changed over the past century? What are the leading issues in Computer Music today?

Submissions will be considered on any topic, however special topics for the 2015 conference include:

  • Digital Communities
  • Big Data
  • Telematic Music
  • Intermedia
  • 3D printing for music
  • New Media
  • Virtual reality
  • Futurism
  • Robotics
  • Mobile Music Computing

Other general content areas may include:

  • Acoustics of Music
  • Aesthetics, Theory and Philosophy
  • Algorithmic Composition
  • Analysis of Electroacoustic Music
  • Analysis/Synthesis
  • Artificial Intelligence and Music
  • Composition Systems and Techniques
  • Computational Musicology
  • Computer Systems in Music Education
  • Digital Audio Signal Processing and Audio Effects
  • History of Electroacoustic Music
  • Interaction and Improvisation
  • Languages for Computer Music
  • Live Coding
  • Mathematical Music Theory
  • Music Information Retrieval
  • New Interfaces for Musical Expression
  • Perception and Cognition of Sound and Music
  • Physical Modeling and Instrumental Acoustics
  • Representation and Models for Computer Music
  • Software and Hardware Systems
  • Spatialisation Techniques
  • Studio Reports

All submissions documents must be sent electronically only through the Conference Management System.

Important Dates

The online submission system will open on January 11th, 2015.

Key dates for submissions are:

  • Paper Submission site open: January 11th, 2015
  • Full paper submission deadline: February 8th, 2015 23:59 (UTC -6)
  • Extended deadline for paper submissions: February 15th, 2015 23:59 (UTC -6)
  • Paper decision notification: April 19th, 2015 (The adjudication process has been completed. Due to the extended deadline, acceptance announcements will be made a week later on April 27.)
  • Final ‘Camera-Ready’ paper deadline: May 31st, 2015
  • Registration deadline June 30st, 2015

Submission Requirements

Please review all of the detailed requirements below before submitting your paper.

Please make sure that you use US Letter Size (8-1/2” by 11” or 216mm by 279mm) paper layout. We strongly recommend that you use the Word or LaTeX template files to format your paper correctly for submission:

Papers should be submitted in PDF format through the Conference Management System. Please make sure that all author information is removed from the submitted paper in order to provide fairness and transparency in the reviewing process.

Submission Types

Please submit PDFs with all author information removed for blind review for the following presentation categories:

  • Short Paper

4 pages maximum in Proceedings, 15 minutes lecture presentation + 5 minutes for questions.

  • Long Paper

8 pages maximum in Proceedings, 25 minutes lecture presentation + 5 minutes for questions.

  • Piece and Paper

Papers linked with a work to be programmed. 4 pages maximum in Proceedings.

  • Poster

4 pages maximum in Proceedings.

  • Demonstration (extensive amplification of papers presented at the ICMC or stand-alone demonstrations of software or hardware)

4 pages maximum in Proceedings.

  • Studio Report (reports on computer music facilities and studio activities)

4 pages maximum in Proceedings, poster presentation or 15 minutes lecture presentation + 5 minutes for questions.

Papers should be a substantial contribution to the field and must be accompanied by a written submission, which may be up to 4 (short) or 8 (long) pages including images and references. Posters and demonstrations are a forum for discussion of work-in-progress and/or significant or important results that are better suited for more interactive presentation. They must be accompanied by a written paper submission of up to 4 pages in length including images and references. Posters will be presented on a 24” by 36” size sheet during a poster session. Demonstrations will be presented during a poster session. All submissions will be subject to blind review by an international panel. After the notification of acceptance, authors will be requested to submit their camera-ready papers taking into account the reviews. One of the authors must present the work at the conference (and pay the registration fee by May 31st, 2015) for it to appear in the proceedings. In exceptional circumstances, the paper chair may propose a more suitable format than the one proposed (i.e. long rather than short paper, demonstration rather than poster).


Registration Regulation

For presentation at the Conference and publication in the Proceedings of the ICMC2015 Conference, a unique registration of one (co-)author per paper (of any submission type) is required by May 31st, 2015. Individuals may appear as co–authors in several papers (of any submission type), but multiple registrations per author/ participant and multiple submissions of single-authored papers will not be accepted.


For questions or clarifications, you can contact the paper-chair.

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